If you ever thought the laid-back vocals of “Dreams” sounded as if they had been recorded by a naked woman lying between satin sheets, then it’s entirely possible you were right.
I had heard that a new pop-up space, Spiritland in Shoreditch, would be playing records from Hobsbawm’s personal collection, so I went along to listen.
Ed Smith’s weekly column, Left Field.
Every life has some incident or episode that is worth telling. And so it proved as I delved into my Classics books, writes Josh Spero.
A running commentary by Ricky Hatton and fellow boxers to mark the 40th anniversary of the super-fight, in what turned out to be a brilliantly conceived and delivered programme
We are in a future that is mostly just like the present. This isn’t the world of The Jetsons: Peter and his wife Bea shop in Tesco, have a cat called Joshua, drive a regular old car and read the Daily Express.
There’s simply no reason to think that language (or society) is crumbling at all, says Pinker.
David Aaronovitch reviews new books about wealth and inequality by Linda Tirado, John Kampfner and Danny Dorling.
It's sexism and geopolitics for all ages as the teams attempt to invent their own board games.
The £10,000 prize for experimental fiction has been awarded to the Scottish writer for her sixth novel which is “dizzyingly good and so clever that it makes you want to dance”.
Is the infamously secretive state finally beginning to open up? An art exhibition at the London embassy of the Democratic People’s Republic would seem to suggest it might be.
Suzanne Moore’s weekly column, Telling Tales.
As your children keep changing, so does the job of bringing them up, each different phase bringing its own specific concerns, which vanish as new ones arise.
It’s as if two sixth formers had watched a few old DVDs – The Dick Emery Show, Rising Damp, the odd episode of Bottom or Alan Partridge – then written down the first thing that came into their heads.
Mark Lawson’s Critic’s Notes.
It’s hard to care about the future of civilisation when we meet so few members of it worth saving and most of those behave like they know they’re in a movie.
The production is alienating, and not a in a sexy, Brecht kind of a way.
Poetry Notebook is primarily a defence of apprenticeship and craft in pursuit of the elixir of memorability.
Consumed doesn’t read as a novel by a man who has spent most of his life writing screenplays – except, perhaps, that it reacts in the opposite direction, towards an art-house pacing.
As I sat in the cavernous and entirely empty dining room, delicately abstracting flesh-flakes from my perfectly poached cod, my only desire was that I could stay longer. Much longer.
The primal damaging act in this novel is the appalling violence meted out by West Pakistan during Bangladesh’s war of independence in 1971, in particular the systematic campaign of rape.
What does the term mean, other than that the wine is big, probably red, and certainly unaffordable?
A couple of years ago, I’d gone with his big sister to another university, where a lecturer had mispronounced one of the most prominent authorities in her discipline and I had got into a fight with him.
A community of tattoo artists in Copenhagen vehemently reject the swastika’s associations with all things menacing and want to “reclaim the symbol” as a deeply ancient emblem of well-being and peace.
Just over a year ago, David Wheeler made it into the Football League, joining Exeter City in League Two, where he still is, a dashing and hard-working right winger. He started reading the NS six months ago.
“Digging for victory” during the Second World War is well-covered ground but the precedent was set three decades earlier when the government sleepwalked into a food crisis during WWI.
“The task is a foreign country,” as LP Hartley wrote in the opening line of his first Apprentice review, “they do things differently there.”
If anything, we are living in an age of unprecedented literacy – in the Western world, at least. The internet just makes our pre-existing mistakes far more visible.
Ken Adam’s design for the War Room in Stanley Kubrick’s Dr Strangelove is one of Hollywood’s most iconic images. David Hayles talks to the man who brought it into being.